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Expanded Architecture Expanded Architecture Temporal 1 Spatial Practices 2 Edited by Claudia Perren and Sarah Breen Lovett 3 Cover Images 1. Harry Seidler & Associates, Australia Square, floor plan, designed 1964 (diagram date ca. 1969). 2. Harry Seidler & Associates, Grosvenor Place, typical office floor plan for I.E.L. tenancy Level 44, 1987. 3. Harry Seidler & Associates, Capita Centre, 9 Castlereagh Street, plan of top executive floor Level 31, 1984–89. Endpaper Images (Prolog) 1.1 Australia Square, tower as viewed from AWA Tower with Sydney Opera House in rear, Photo: Max Dupain, 1968. 1.2 Australia Square in construction, 1965. 1.3 Australia Square tower “keyhole shot”, viewed through the opening from stairs from plaza level, Photo: Max Dupain, 1968. Endpaper Images (Epilog) 2.1 Grosvenor Place, tower and Sydney Harbour in rear, Photo: Eric Sierins, 1989. 1.4 Alexander Calder, Crossed Blades, Australia Square, 1967, Photo: Max Dupain, date unknown. 2.2 Grosvenor Place, tower and north plaza entry from George St. March, Photo: Max Dupain, 1990. 1.5 Australia Square, Photo: Max Dupain, 1968. 2.3 Grosvenor Place, tower as seen from the curved screen wall of the north plaza, Photo: Eric Sierins, 1992. 2.4 Grosvenor Place, Photo: Max Dupain, 1990. 3.1 Capita Centre, executive roof terrace, Photo: Max Dupain, 1990. 2.5 Grosvenor Place, Photo: Max Dupain, 1990. 3.2 Lobby of Capita Centre, showing porcelain mural by Lin Utzon, Photo: Max Dupain, 1990. 3.4 Capita Centre, 9 Castlereagh Street, Photo: Max Dupain, 1990. 3.3 Façade of Capita Centre, 9 Castlereaght Street, Photo: Max Dupain, 1990. 3.5 Max Dupain, Capita Centre, 9 Castlereagh Street, Photo: Max Dupain, 1990. Expanded Architecture – III Experimental Practice Temporal Spatial Practises 1 FLOOR PAINTING 81 Nina and Elena Tory-Henderson Contents 2 THE MATTER OF VOIDS 82, 83 , 84, 85 Ainslie Murray 3 YOU ARE HEAR 87 I Introduction Lindsay Webb and Amanda Cole 4 HAUS DER FRAU 88, 89, 90 TEMPORAL FORMAL 17 Cottage Industries AT SEIDLER CITY 5 TAKE A SEAT 92, 93 Claudia Perren Bellemo & Cat 6 UNDER HARRY’S 94, 104, 105, 106, 107 CIRCUMSTANCES II Scholarly Discourse Ryuichi Fujimura and Kate Sherman DEFINING THE EXPANDED 23 7 SENTRIES 96, 97 Sarah Breen Lovett Tina Fox 8 COLLABORATIVE MAPPING 99, 101 BUILDINGS THAT 29 Kate Dunn and Phillip Gough EXPAND ARCHITECTURE 9 UNTITLED (TWO POWERS) 102, 103 Vladimir Belogolovsky Eduardo Kairuz 10 TEMPORAL FORMAL: 108, 109 SIX LECTURES: 41 AN INVESTIGATIVE RECONSTRUCTING AND SPATIAL PERFORMANCE TESTING HARRY SEIDLER’S Campbell Drake, 1980s ARCHITECTURE Karen Cummings, and DESIGN STUDIO Elizabeth Drake Paola Favaro 11 EXPERIMENTS IN PRESENCE 111, 112 Francis Kenna HARRY SEIDLER AND 57 REDUCTIVE ART IN AUSTRALIA Billy Gruner IV Scholarly Discourse UNSTABLE ARCHITECTURES; 125 OR CAMPING, MODERNISM, AND BEYOND Thea Brejzek and Lawrence Wallen V Appendix Contributors 139 Acknowledgments 145 Partners and Sponsors 145 Picture Credits 146 Imprint 160 12 13 DEFINING THE EXPANDED Sarah Breen Lovett Since the 1960s, interdisciplinary crossovers amongst art, cinema, performance and architecture have been referred to as “expanded.” Thus, the title of this exhibition series, Expanded Architecture, was developed within the lineage of such practices as expanded art, expanded cinema, expanded field, and expanded spatial practice. In each of these practices, the term expanded was first used in very specific ways, but then was broadly employed in a less-defined manner as the terminology became adopted, morphed and adapted to suit various interpretations. Rather than leading to the dilution of the original intention, the process of expanding the definition created multiple avenues for further definition, with ever- increasing richness and myriad of levels of inquiry to draw upon. Further, the avenues of inquiry associated with the term expanded do not imply expansion by moving away from the concerns of one’s own discipline, but instead they offer an interrogation of one discipline by reframing it through another. Expanded art was one of the first adaptations of the term expanded in relation to art practices. It can be traced back to 1946, in reference to an exhibition of paintings exploring new visual patterns in urban contexts, including “aerial views, cloverleaf highways, electric power lines, skyscrapers, giant airports and factories, a world of new scientific theories and processes, relativity, atomic power, radar, psychoanalysis, 1 motion pictures and television.” It is interesting to note the 1 Edith Weigle, “Expanded Art Exhibition,” aesthetic links between these works of expanded art and the Chicago Daily Tribune, early Bauhaus experiments in photography by László Moholy- 17 June 1946, p.27. 2 Nagy. 2 Laszlo Moholy-Nagy, The term expanded art was then popularized by the Painting, Photography, Film, trans. Janet Seligman Lithuanian-born American Fluxus artist George Macinuas in (Cambridge, Mass., 1927). the mid-1960s through the “Expanded Arts Diagram.”3 In this 3 George Maciunas, diagram, the expanded arts are first viewed as encompassing “Expanded Arts Diagram,” a variety of practices, including verbal theatre, happenings, Film Culture: Expanded neo-baroque theatre, collage, expanded cinema, kinesthetic Arts, no. 43 (1966), p. 7. theatre, acoustic theatre, events/neo-haiku theatre, anti-arts, 4 Mark Bartlett, “Socialimagestics and the and political culture. From a second perspective, the diagram Visual Acupuncture of Stan cites broadened use of expanded art as an umbrella term to Vanderbeek’s Expanded Cinema,” in Expanded include not only various types of media, but also assorted Cinema: Art, Performance, content, intents, and experiences. Evidenced through this Film, ed. David Curtis et diagram, the historical use of the term expanded was adapted al. (London, 2011), p. 52. to redefine the parameters of art practice. Expanded cinema was coined in the 1950s by the American experimental filmmaker Stan Vanderbeek to de- scribe multiple, shared cinematic experiences, whereby people in one cinematic space have the same experience as people in another cinematic space.4 Ultimately, Vanderbeek 23 saw expanded cinema as a device for communicating be- Expanded field was coined by the American artist 5 5 Ibid., p. 54; Stan tween cultures. Beginning in the 1960s, as documented Robert Morris, but popularized by the American theorist Vanderbeek, “Expanded 15 15 As noted in Michael Cinema: A Symposium, N.Y. by Mekas, the term became used in reference to cinema Rosalind Krauss in 1979. Both Morris and Krauss use the Archer, Art since 1960, Film Festival, 1966,” Film mixed with performance-based mediums, happenings, and term to define a set of postmodern sculptural practices that World of Art (London, Culture: Expanded Arts, 6 1997), p. 94; Rosalind no. 43 (Winter 1966), p. 1. kinesthetic theatre. Vanderbeek, however, dismissed this extend beyond the plinth and context of the gallery. Krauss Krauss, “Sculpture in the practice as inter-media, not expanded cinema, as the focus notes that artists of that time “operate directly on the frame Expanded Field,” October, 6 Jonas Mekas, Movie 7 no. 8 (Spring 1979): 38. Journal: The Rise of was not on intercultural exchange. In 1970 the American of the world of art. The term expanded field is one way of 16 New American Cinema, theorist Gene Youngblood also defined expanded cinema by mapping that frame.” According to Krauss, artists such as 16 Rosalind Krauss 1959–1971 (New York, et al., Art since 1900: 1972), pp. 188–222. its inter-social implications: “When we say expanded cinema Morris, Carl Andre, Bruce Nauman, Richard Serra, and Robert Modernism, Antimodernism, we mean consciousness … man’s ongoing historical drive to Smithson established their work off the plinth and in context Postmodernism (London, 7 Jonas Mekas, 2004), p. 544. introduction, Film Culture: manifest his consciousness outside of his mind, in front of with their surroundings. In Krauss’s Klein group diagram, the 8 Expanded Arts, no. 43 his eyes.” expanded field navigates the archipelago of architecture, 17 Ibid., p. 543. (Winter 1966), p. 1. Another faction of expanded cinema was created by non-architecture, landscape, and non-landscape. These el- 18 Jane Rendell, Art 8 Gene Youngblood, British film artists’ multiscreen, live-action events, including ements are the chosen parameters, because in the quest for to Architecture: A Place Expanded Cinema (New Between (London and York, 1970), p. 41. those by the group Filmaktion. Although these artists did autonomy, modernist sculpture had rejected the context in not initially define their practice as expanded cinema, such which sculpture sat, such as landscape and architecture. It New York, 2006), p. 41. 9 Malcolm Le Grice, 19 Krauss, “Sculpture in “Around 1966,” influential film figures as the Lithuanian-born American film therefore became crucial to include them in creating a field 9 17 the Expanded Field,” p. 41. Abstract Film and critic Jonas Mekas and the Austrian artist Peter Weibel did. for postmodern practices. As the British theorist Jane Rendell Beyond (Cambridge, Mass., 1977), p. 121. Stemming from a background in structural cinema, this form says, sculpture, therefore becomes a practice suspended of expanded cinema was more focused on the processes of between a series of oppositions that categorize art practices 20 Ibid. 10 Jackie Hatfield and 18 21 Chrissie Iles, “Inside Stephen Littman, eds., film-making and audiences’ critical engagement, rather than not by their similarities but by their differences. In this
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